{"id":43505,"date":"2014-03-17T10:19:47","date_gmt":"2014-03-17T13:19:47","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=expo&p=43505"},"modified":"2023-12-05T18:05:14","modified_gmt":"2023-12-05T18:05:14","slug":"what-made-us-modern-crisp-images-in-a-humid-environment","status":"publish","type":"expo","link":"https:\/\/galerialeme.com\/en\/expo\/what-made-us-modern-crisp-images-in-a-humid-environment\/","title":{"rendered":"What made us modern \/ Crisp images in a humid environment"},"content":{"rendered":"","protected":false},"featured_media":51379,"template":"","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_uag_custom_page_level_css":"","footnotes":""},"expo_year":[76],"class_list":["post-43505","expo","type-expo","status-publish","has-post-thumbnail","hentry","expo_year-2014-en"],"acf":[],"spectra_custom_meta":{"_wpml_word_count":["{\"total\":0,\"to_translate\":{\"en\":2,\"pt-br\":2}}"],"_edit_lock":["1701799434:4"],"_edit_last":["4"],"_wpml_media_featured":["1"],"_wpml_media_duplicate":["1"],"_last_translation_edit_mode":["translation-editor"],"leme_artist":["Sandra Gamarra"],"_leme_artist":["field_6436bf3605737"],"expo_description":["The Madrid-based Peruvian artist, founder of the fictitious and virtual museum LiMac, will present at Galeria Leme \u201cWhat Made us Modern \/ Crisp Images in a Humid Environment\u201d, her fourth solo exhibition in S\u00e3o Paulo.\r\n\r\nGiven the current promise of modernization in Peru, to be understood as the real presence of the state in the country and therefore as a right to citizenship for each individual, this exhibition reflects on what happened in Peru during the first era of the uncompleted modernity and on what signified its posterior lack of concretization.\r\n\r\n\u201cAn attempt to make crisp images in a humid environment\u201d is how the sociologist An\u00edbal Quijano describes the impossibility to do vanguard poetry in Lima, which can also be extrapolated to the field of visual arts. The crisp images to which Quijano speaks of refer to machines, to the industry and to the new ideas that, in a city like Lima, without nearby industries and without technical development, were impossible to create and disseminate. This moist environment not only refers to the real humid climate of Lima but also to the \u201csocial humidity\u201d that made it impossible for new images with clean margins and plane colors to emerge and settle in the collective imaginary. This humidity would be the product of the yet ongoing effervescence of an imposed nationalism, the vapors of a slowly cooked multiculturalism and the permanent oxidation of the social processes.\r\n\r\nThe historian Armando Alzamora described that time period (1916 \u2013 1936), as such: \u201cA certain way to think spaces began to emerge, like a sophisticated geometric mold on which hard blocks had to fit, some unusual, but all loaded with this new spirit. To that extent, this sort of avant garde mythology could only have developed in a paradoxical instance, not for its plurality, but more for its discursive character: the vanguard. It was in fact the exact medium, the perfect dimension to transpose the states of a changing world that on the other hand only existed within us as an absence.\u201d\r\n\r\nLocal artists rejected the promises of Western modernity, and consciously returned to the recovery of the landscape and the Andean habitant that, seen from Lima, seemed as far away as the past, but closer than the metr\u00f3polis that was announced by the future. This movement, denominated as Indigenismo, had a modern perspective as it thematically opposed itself to European classicism while it utilized forms that maintained them on the fringes of what was done on the continent.\r\n\r\nThis recuperation of the Andean in the arts also reflected itself in other fields of study such as anthropology and archeology that renewed in a more integral version in which the distance between the object of study and the investigator was abolished. The integration process of the rural population had its climax during the Agrarian Reform of 1968 as it made them owners of their lands again for they had been worked by them for generations. However, as the state had not been capable to concretize its proper modernization, its unfulfilled promise became the breeding ground so that years later terrorists groups began to emerge in the country during the 1980\u00b4s and 90\u00b4s.\r\n\r\nThis violence was necessary, so that Peruvians began to see themselves as a multicultural and a plural society. The following phrase by the sociologist and philosopher Mirko Lauer \u201cViolence made us moderns\u201d therefore applies to a modernity that needed violence to carry on, a duo that has repeated itself at each attempt.\r\n\r\nThe works in this exhibition oppose, mix and force the modern imaginary, with the photographic registration of the violence of the 80\u00b4s, parting from what the Mexican caricaturist Marcius de Zayas mentioned regarding new photography or pure photography as an artistic discipline that surpasses all forms because it brings the plastic verification of the facts, a visual proof of what he called \u201cmaterial truths of the natural world.\u201d\r\n\r\nThe exhibition of both imaginaries, reunites doubles such as modernity \/ violence, abstraction \/ realism, dryness \/ humidity, where none overlaps the other but on the contrary are forced to live together.\r\n\r\nUtilizing the iconic \u201cHomage to the Square\u201d paintings by the artist Joseph Albers as a starting point, images of the terrorist violence of the 80\u00b4s in Peru has been included in an almost invisible manner. To reveal themselves, it is necessary to get close to the painting, a contrary movement to what modern paintings proposed. Similarly, the series that is named after the exhibition title, What Made us Moderns, consists of 10 paintings that creates a gradient of grey and have the exact same measurements of the concrete blocks of which the gallery is made of. In such a way, the works surrender themselves to the architecture and live with it in a fully modern act. If we look at them from far away, this gradient made out of a Kodak scale of grey coexists without friction with the architecture. But in each corner of the paused, measured and clinic monochromes, a set of pictures appear and break this transition. These images tell us about a constant that is of capital and latent permanence.\r\n\r\nThis exhibition also includes copies of indigenous paintings in contrast with the images that were created outside of Peru, as an attempt to find impossible relationships through the construction of pictures that never existed.\r\nThe videos entitled \u201cAbstractions\u201d, \u201cNatural Landscape\u201d and \u201cAshes to ashes\u201d are three reflections on the delicate relation between the pre-Columbian heritage, the rural present and Western culture in the light of the promises of development and modernization.\r\n\r\nAbout the artist:\r\n\r\nSandra Gamarra was born in Lima, Peru, in 1972. She lives and works in Madrid.\r\n\r\nHer work has been featured in numerous exhibitions, including the shows Setting the Scene, Tate Modern, London, UK(2012); At the Same Time, Bass Museum of Art, Miami, USA(2011); XI Bienal de Cuenca, Cuenca, Ecuador (2011); Fiction and Reality, MMOMA, Moscow, Russia (2011); Arte al Paso, Colleci\u00f3n Contemporanea del Museo Arte de Lima, Esta\u00e7\u00e3o Pinacoteca, S\u00e3o Paulo, Brazil (2011); 29\u00aa Bienal Internacional de S\u00e3o Paulo, Funda\u00e7\u00e3o Bienal, S\u00e3o Paulo, Brazil (2010); 53\u00aa Biennale di Venezia, Venice, Italy (2009); . Her work is in private and public collections such as MUSAC, Le\u00f3n, Spain; MoMA, New York, USA and Tate Modern, London, UK."],"_expo_description":["field_64442aea60f9a"],"expo_catalog_expo_catalog_text":[""],"_expo_catalog_expo_catalog_text":["field_6447bb26033f7"],"expo_catalog_expo_catalog_file":[""],"_expo_catalog_expo_catalog_file":["field_6447bb3f033f8"],"expo_catalog":[""],"_expo_catalog":["field_6447bac1033f6"],"gallery":["a:43:{i:0;s:5:\"43506\";i:1;s:5:\"43508\";i:2;s:5:\"43510\";i:3;s:5:\"43512\";i:4;s:5:\"43514\";i:5;s:5:\"43516\";i:6;s:5:\"43518\";i:7;s:5:\"43520\";i:8;s:5:\"43522\";i:9;s:5:\"43524\";i:10;s:5:\"43526\";i:11;s:5:\"43528\";i:12;s:5:\"43530\";i:13;s:5:\"43532\";i:14;s:5:\"43534\";i:15;s:5:\"43536\";i:16;s:5:\"43538\";i:17;s:5:\"43540\";i:18;s:5:\"43542\";i:19;s:5:\"43544\";i:20;s:5:\"43546\";i:21;s:5:\"43548\";i:22;s:5:\"43550\";i:23;s:5:\"43552\";i:24;s:5:\"43554\";i:25;s:5:\"43556\";i:26;s:5:\"43558\";i:27;s:5:\"43560\";i:28;s:5:\"43562\";i:29;s:5:\"43564\";i:30;s:5:\"43566\";i:31;s:5:\"43568\";i:32;s:5:\"43570\";i:33;s:5:\"43572\";i:34;s:5:\"43574\";i:35;s:5:\"43576\";i:36;s:5:\"43578\";i:37;s:5:\"43580\";i:38;s:5:\"43582\";i:39;s:5:\"43584\";i:40;s:5:\"43586\";i:41;s:5:\"43588\";i:42;s:5:\"43590\";}"],"_gallery":["field_6436be9722a75"],"videos":[""],"_videos":["field_644491b47cb7e"],"leme_visit":[""],"_leme_visit":["field_6436bb780169e"],"text_expo":[""],"_text_expo":["field_6436bf9def280"],"files":[""],"_files":["field_64453629d51d1"],"leme_begin":["20140322"],"_leme_begin":["field_64442ce3d3a50"],"leme_end":["20140503"],"_leme_end":["field_64442d00d3a51"],"_thumbnail_id":["51379"],"leme_artist_coletivo":["0"],"_leme_artist_coletivo":["field_649b22d81cddd"],"_yoast_indexnow_last_ping":["1743684666"],"_uag_css_file_name":["uag-css-43505.css"],"_uag_page_assets":["a:9:{s:3:\"css\";s:260:\".uag-blocks-common-selector{z-index:var(--z-index-desktop) !important}@media(max-width: 976px){.uag-blocks-common-selector{z-index:var(--z-index-tablet) !important}}@media(max-width: 767px){.uag-blocks-common-selector{z-index:var(--z-index-mobile) !important}}\";s:2:\"js\";s:0:\"\";s:18:\"current_block_list\";a:7:{i:0;s:11:\"core\/search\";i:1;s:10:\"core\/group\";i:2;s:12:\"core\/heading\";i:3;s:17:\"core\/latest-posts\";i:4;s:20:\"core\/latest-comments\";i:5;s:13:\"core\/archives\";i:6;s:15:\"core\/categories\";}s:8:\"uag_flag\";b:0;s:11:\"uag_version\";s:10:\"1778171509\";s:6:\"gfonts\";a:0:{}s:10:\"gfonts_url\";s:0:\"\";s:12:\"gfonts_files\";a:0:{}s:14:\"uag_faq_layout\";b:0;}"]},"uagb_featured_image_src":{"full":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/03\/sandra_gamarra_what-made-us-modern_exhibition-view_iii_leme_72.jpg",1200,824,false],"thumbnail":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/03\/sandra_gamarra_what-made-us-modern_exhibition-view_iii_leme_72-150x150.jpg",150,150,true],"medium":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/03\/sandra_gamarra_what-made-us-modern_exhibition-view_iii_leme_72-300x206.jpg",300,206,true],"medium_large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/03\/sandra_gamarra_what-made-us-modern_exhibition-view_iii_leme_72-768x527.jpg",640,439,true],"large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/03\/sandra_gamarra_what-made-us-modern_exhibition-view_iii_leme_72-1024x703.jpg",640,439,true],"1536x1536":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/03\/sandra_gamarra_what-made-us-modern_exhibition-view_iii_leme_72.jpg",1200,824,false],"2048x2048":["https:\/\/galerialeme.com\/wp-content\/uploads\/2014\/03\/sandra_gamarra_what-made-us-modern_exhibition-view_iii_leme_72.jpg",1200,824,false]},"uagb_author_info":{"display_name":"Cheyenne","author_link":"https:\/\/galerialeme.com\/en\/author\/"},"uagb_comment_info":0,"uagb_excerpt":null,"_links":{"self":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo\/43505","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo"}],"about":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/types\/expo"}],"version-history":[{"count":0,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo\/43505\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media\/51379"}],"wp:attachment":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media?parent=43505"}],"wp:term":[{"taxonomy":"expo_year","embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo_year?post=43505"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}